It’s Tuesday evening, therefore I have decided I am going to write a film. It’s good to have side projects and entertain the occasional long-term hair-brained scheme. I’ve been meaning to become the next Billy Wilder/William Goldman/Joe Eszterhas for a good couple of decades now, but I keep getting waylaid by life’s incessant demands and interesting things on the telly. But now it’s Tuesday evening; now it’s time to get this done.

A long time ago, when I accidentally became a designer, I had this book. It was probably about the thickness of an issue of MacUser. On every page of this book sat twenty or so very small photographic thumbnails.

Boyhood is quite unlike any film I've ever seen. If you've seen it, you're no doubt a little bit obsessed and want to know more about it. A good place to start is with the BoyhoodFAQ, but it's also well worth having a dig through this lot:

Drew McWeeny and Ali Gray both give personal accounts of what the film meant to them as fathers (both of which I concur with – it's definitely changed how I think about what's to come in my boy's life).

One of the many ways the films marks the passing of time is through a rather fantastic of-the-time(s) soundtrack. The dated opening track alone says a lot about how long this project has been in the works. Here's a complete list of every song used. Any film that takes a moment to discuss I Hate It Here by Wilco is okay by me.

The New York Times have a fascinating slideshow of star Ellar Coltrane at various ages. In summary: cute, cute, cute and … BLAMMO! puberty.

As unique as Boyhood is, characters/actors growing up on screen happens on televisions all the time. For example, there's definitely an interesting film to be cut together just using scenes of Sally Draper/Kiernan Shipka in Mad Men (ideally to feature a present-day final scene starring Kathleen Turner … but I digress).

And for some good old-fashioned reading on paper, I can highly recommend Spike, Mike, Slackers and Dykes, John Pierson's account of the American indie scene from which Linklater et al sprung.